DMG Newsletter for October 27th, 2017

So Much to Hear and So Little TimeJust Keep on Listening, Keep on TryingTo Savor Each Sound before It Fades AwayWhen Time Slows Down, We Hear So Much MoreSo Try to be Patient, and Take Some Time to Explore The New Sounds of:

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy

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Three Great New Discs from the Ever-Adventurous Cuneiform Label:

RAOUL BJORKENHEIM / eCsTaSy - Doors of Perception (Cuneiform 443; USA) In the mansion that is guitarist Raoul Björkenheim’s music there are many rooms, and the Finnish-American guitar explorer opens up a particularly vivid and volatile new portal with Doors of Perception, his third Cuneiform release with his quartet eCsTaSy. Slated for release on October 6, 2017, the album captures an extraordinary working ensemble stretching into transfixing new spaces, settings defined as much by texture, vibe and sinuous melodic lines as by rhythmic and harmonic structures. Featuring the innovative drummer Markku Ounaskari, Björkenheim’s longtime partner in sonic exploration, the young and dauntingly prolific saxophonist Pauli Lyytinen and bassist Jori Huhtala, eCsTaSy continues to expand its sonic palette. Over the course of six years the musicians have forged a riveting communion. Capaciously inventive, rigorously gutsy and unapologetically Nordic, the music flows from the mystic Finnish landscape and the hothouse Helsinki music scene that gave birth to the band. “The band has really developed during the last few years, getting to a point that I had hoped we would reach,” Björkenheim says. “We went into the studio with some sketches, but most of the music was created spontaneously, and you get a sense of this ongoing conversation. We couldn’t have done this five years ago. We didn’t have this kind of trust yet.” One sure sign of the quartet’s deep connection is the way they distill ideas. Sequenced as a stream of consciousness train of impressions, Doors of Perception features 10 tracks that all clock in under five minutes. Rather than exploring extended forms or expansive soundscapes, the music is instead marked by pithy statements and compressed drama. Which isn’t to say Doors of Perception lacks grandeur. The album opens with “Ides of March,” an ominous, portentously churning piece that breaks like a thunderstorm, only to clear with a thumping bass passage and a thick, ringing guitar chord. “Buzz,” the album’s briefest piece, is a jittery journey that seems to pass through a multitude of stations, driven by Ounaskari’s spidery cymbal work. Maybe the group was heading to the beach, as the wary but persistently spacious “Surf Bird,” follows, featuring Lyytinen’s lilting East-meets-West wood flute. The album’s longest track, “Elemental” is also the most pleasingly consonant, a snaky sojourn that keys on Lyytinen’s keening soprano sax and Björkenheim’s meaty strumming. With its blustery bass sax and soaring guitar line, “Talkin’ to Me?” is appropriately pugnacious, while the title track proceeds like an invitation to an enigmatic subterranean realm. The album closes with “Ecstasy Dance,” a righteous blast of joy that whirls off to the horizon, suggesting yet another door well worth entering. While Björkenheim is no stranger to long musical structures, he was after a different kind of narrative arc on Doors of Perception. Much like each piece is a finely calibrated aural micro-cosmos, the album proceeds from track to track with its own internal logic. “In a way it is countercultural,” Björkenheim says. “It’s an invitation to enter a world that might be disorienting. I don’t hear a walking bass, is this jazz? It might be a little bit of a challenge, but it’s also an invitation.” With Doors of Perception, Björkenheim and eCsTaSy avoid predictable and boring routines to offer the listeners something all too rare in most jazz these days. The Doors of Perception invites listeners to join eCsTaSy’s musical trip, a journey filled with excitement and joyous revelations that spark emotions and expand all ears.” - CuneiformCD $15

THE ED PALERMO BIG BAND - The Adventures of Zodd Zundgren (Cuneiform 440; USA) “The Adventures of Zodd Zundgren is derived from the mashup of Todd Rundgren and Frank Zappa compositions, randomly ordered across twenty-five compact tracks on a single CD. This album is not Palermo's first go-round with Zappa material. The Ed Palermo Big Band Plays the Music of Frank Zappa (Astor Place Records, 1997), Eddy Loves Frank (Cuneiform Records, 2009) along with Oh No!... have their roots in Palermo's early fascination with the creative music icon and years of residency at New York's The Bottom Line, where his interpretation of Zappa music drew a regular audience. If Zappa's affinity for jazz was a draw for Palermo, then Rundgren's connection to the British invasion may have been another. The Great Un-American Songbook was Palermo's paean to The Beatles, Rolling Stones, King Crimson, Traffic, Jethro Tull and others. Rundgren has worked with members The Beatles, The Who and Cream. He experimented with genre-less creative music on A Wizard, a True Star, an album that included Randy Brecker, Michael Brecker and David Sanborn. Following the opening "The Solemn Z-Men Credo," a short choir piece of undetermined origin, Zappa's "Peaches En Regalia" sets the stage for much of the expansive big band swing and rock mixture to come. Rundgren's "Influenza" follows suit, enhanced by Katie Jacoby's euphoric violin. The most well-known of Rundgren's early songs, "Hello, it's Me" is essentially true to form but with a subdued brass backdrop and an appealing lead vocal from guitarist Bruce McDaniel. Another Rundgren gem, the bluesy "Broke Down and Busted" features a vocal that toys with, then rises well above lounge lizard status. "Zoots Alure" from Zappa's 1976 album of the same name, trades its original edginess for dramatic and effective orchestration. There is plenty of variety across these twenty-five tracks. The purely nostalgic feel of "Janet's Big Dance Number" is matched by the scat of "Echidna's Arf (Of You)," as supplied by guests, The Louisiana Swindle Singers who may or may not be a one-off on this project. There is a slight western swing element to "You Are What You Is" thanks to Jacoby's energized fiddling, and the trademark Palermo humor comes through in "Song of the Viking." But there are two primary languages being spoken here—jazz that rocks (as opposed to fusion) and big band swing with all the idiosyncrasies of the leader. More than anything else, The Adventures of Zodd Zundgren is big, irresistible fun.” - Karl Ackermann, AllAboutJazzCD $15

SCHNELLERTOLLERMEIER - Rights (Cuneiform 442; USA)Clarity. Attitude. Skill. These really aren’t qualities that define our present time. All too often, our ephemeral reality finds itself reflected in a jittery retro-music that sucks its data from the Cloud  that atomised archive accessible to all. Schnellertollermeier’s fourth album, to be released October 2017 by Cuneiform Records, is their reply to all this: Rights, and it offers ample demonstration of their own clarity and ability. Rights comprises four pieces, every one of them inscribed with radicalism. Each is built on just a few ideas and develops out of them until it sounds like a Cubist work of art that seems to gaze out from the most varied of perspectives, but always in the same direction. This is the key to the immense depth and beauty of this album. Apart from the fact that it simply blows you away.CD $15

4S’d: TOM SCOTT / PAUL SEARS / MARK STANLEY / BILLY SWANN a/k/a THE MUFFINS - Man or Muffin (Hobert 004; USA) Bands are hard, gang. Even bands that have been together (and apart) for decades and decades and whose members have real love for each other. It's still hard to keep a band together forever. Around 2011-12, The Muffins started working on a 'big band' project, which got pretty far along before 'creative differences' tore the project and eventually the band apart. Again. Meanwhile, this album, which is re-worked versions of the compositions that Tom wrote for the big-band albums, is a very good and interesting, quite UN-Muffiny, thoroughly composed, very dense album that I previously thought featured a lot of computer work along with the 'real' instruments and players, but which Paul recently informed me that there was no computer work and everything was 'played by musicians' with no computer assistance. Makes it even more impressive! As long as you are interested in creative music and not looking for an album by The Muffins, you'll probably really like this. "4S'd is a project by Tom Scott, Paul Sears, Mark Stanley, and Billy Swann. Tom, Billy, and Paul hail from the critically acclaimed The Muffins [and Mark Stanley is a great guitarist who was formerly in Chainsaw Jazz, among others]. Our first 4S'd release is Man or Muffin. All of the music was composed and produced by Tom Scott.”CD $15

VINNY GOLIA With STEVE ADAMS / KEN FILIANO / TINA RAYMOND - Syncquistic Linear Expositions and their Geopolitical Outcomes (…we are all still here…) (Nine Winds 342/pfMentum 109; USA) Featuring Vinny Golia on sopranino, soprano & baritone saxes, bass clarinet, kwala , kayzee & gongs, Steve Adams on alto sax, Ken Filiano on bass & pedals and Tina Raymond on drums. Multi-reeds wizard, ethnic instrument collector, composer and professor, Vinny Golia, seems intent on challenging himself by working several different ensembles, each with different personnel and instrumentation. Earlier this year (2017), Mr. Golia released a disc featuring a woodwinds, string quartet, piano & percussion ensemble. For this disc, Golia put together a strong quartet with two reeds up front which includes Steve Adams from Rova Sax Quartet, longtime partner Ken Filiano on contrabass and newcomer (for me) drummer Tina Raymond. “The Trouble with Mr. Snappy” starts with a dark, low-end drone created by rumbling bari and alto sax and bowed bass. Mr. Golia takes the first solo on bari and is in fine form, slow-burning assuredly. He soon joined by Mr. Adams alto as both saxes weave their lines tightly around one another while the rhythm team shifts tempos, the pulse/flow continuing. “Paro” sounds more like modern chamber music (well-balanced textures expanding) when it begins with Mr. Golia on sopranino sax. Golia plays a kwala (an Egyptian flute) on “Some Kind of Guru”, which is long and features some superb drumming and excellent bowed bass. The last section reminds me of “Conference of the Birds” by the Dave Holland Quartet (with Sam Rivers & Anthony Braxton), a favorite of loft jazz fans. Choosing Bay area saxist Steve Adams is indeed a great idea as he is a strong soloists and skilled team player. A great deal of the interaction between Golia (or sopranino, soprano or bari saxes) and Steve Adams on alto sax is consistently spirited and fascinating to hear. The pace slows down to a more suspense-filled climate on “Bank Book Lama”, which features some mysterious bowed bass and electronics underneath the more restrained weaving of both finely nuanced saxes. One of the best things about this quartet is that the rhythm team sounds relaxed no matter who how much shifting in tempo or dynamics they go. Us Vinny Golia fans are pleased as punch to see that our fave L.A. reeds wiz/composer/bandleader continues to release gems regularly on his own Nine Winds label with the help of pfMentum. - Bruce Lee Gallanter, DMG CD $14

MOSTLY OTHER PEOPLE DO THE KILLING [RON STABINSKY / MOPPA ELLIOTT / KEVIN SHEA] - Paint (Hot Cup 171; USA)“No sooner had Mostly Other People Do the Killing expanded to a septet with Loafer's Hollow (Hot Cup Records, 2017) than they shrink to their smallest formation to date with the trio release Paint. Founding member, bassist, and composer Moppa Elliott is joined by pianist Ron Stabinsky and drummer Kevin Shea. Trumpeter Peter Evans had departed the group before its 2015 Mauch Chunk album and now without Jon Irabagon's alto saxophone in the lineup, the sound takes a very different form. But convention has never been the MOPDtK modus operandi and this piano trio is hardly traditional. Ron Stabinsky, became a regular member of MOPDtK with Mauch Chunk having previously performed with the group live in 2013 and on the Hot Cup album Blue (2014). The label (under Elliott's leadership) also produced the pianist's solo outing Free for One in 2016 as well as Elliott's solo album Still, Up In The Air. Both of those releases are examples of the astute use of texture, melody, and improvisation but are very different in nature compared to Paint. Elliott wrote seven of the eight compositions with the sole cover being Duke Ellington's "Blue Goose." As usual, the titles are linked to locations in Pennsylvania—this time with a secondary color-coded "paint" theme. The album opens in high spirits with the multiple themes of "Yellow House" where Stabinsky's mastery of phrasing, complex harmony, and free playing finds a platform. The pianist rapidly drops torrents of notes through the otherwise bluesy "Orangeville," slowing down to allow Elliott an impressive lead spot. The blues figure prominently in sections of "Black Horse" and more so on the excellent "Plum Run" after it sheds its early waltz specs. "Golden Hill" may go down in MOPDtK history as their musical outlier, if only because it is consistently closer to the jazz tradition. The album closes with "Whitehall," a piece that Elliott originally called "Blue Goose" and changed after learning of the Ellington composition. Stabinsky is naturally the cornerstone in this setting and he is superb, but Elliott and Shea have ample opportunity to stand out. Shea is unconstrained, providing continuity and seismic shifts in equal measure. His decisively chaotic method is a pleasure to hear in this less cluttered environment. Elliott's basslines are beautifully resonant, his voicings vibrant. There's little rationale for talking about Paint in the context of other MOPDtK albums given the unique spectacle of sound that defines the larger group. Taken on its own merits, the trio works within taut compositional structures while still expressing boisterous independence; the intense free improvisations are well-placed, sharp and focused. Paint is one of the best trio albums of the year and highly recommended.” - Karl Ackermann, AllAboutJazzCD $14

TONY MALABY TRIO - Self/titled (SelloCabello; Argentina) Featuring Tony Malaby on tenor sax, Juan Pablo Arrendondo on guitars and Carto Brandan on drums. I recently had a long talk with Tony Malaby at Cornelia Street Cafe, mostly about the time he has been spending teaching and playing with musicians from Argentina. This disc was recorded in Escobar, an hour outside of Buenos Aires where Mr. Malaby’s two collaborators live. It was recorded at a community arts center where the audience includes both young children and grandparents. The two members of the trio here, Juan Pablo and Carto Brandan are both teach at conservatories. The trio perform three long pieces here, two from early discs by Tony Malaby. Commencing with “Incantation”, from the “Incantation Suite” on Clean Feed. The trio start off with a relaxed sense of calm, Malaby’s tenor tone, warm and inviting. Although this was the first performance by this trio, it sounds as if they have worked together for a long while, taking their time to weave their soft waves around one another. Altough Malaby’s tear is up front in the center the guitar and drums listen closely and respond with sublime, dream-like assistance. There is something most magical, almost trance-like going on here. Organic, tasty, dream weaving elegance… which slowly escalates until it soars in increasing tempo up towards the stars. The cover of each CD was hand-made from recycled cardboard and the artwork by a band member. One of this week’s best under-recognized treasures. - Bruce Lee Gallanter. DMG CD $15 [LTD Edition of 100 with hand-made covers]

American-born, California bred drummer, Michael Vatcher, relocated to Holland in 1981, where the majority of his music career has flourished. He has long been a favorite percussionist of mine and many others due to his distinctive approach to the drums and his arsenal of hand-made percussion instruments. I’ve been fortunate to have caught Mr. Vatcher live with Maarten Altena, 4 Walls and Michael Moore (in Jewels & Binoculars). The great news (for us) is this: Michael Vatcher has recently moved to New York, so we will be catching him live more often. I saw Vatcher sitting in with Darius Jones recently at The Stone and he added his own unique percussive magic to the set. Mr. Vatcher is tentatively playing here at DMG with Jack Wright in January on 2018. He just left us with three CD’s which are listed below:

1000 [JAN KLARE / BART MARIS / WILBERT DE JOODE / MICHAEL VATCHER] - Anthems to Work on a Good End (Umland Records 0001; Germany) 1000 features Jan Klare on reeds, Bart Maris on trumpet, Wilbert de Joode bass and Michael Vatcher on drums & percussion). This appears tone the fourth disc from 1000, each previous one was on a different label: Leo, Red Toucan and Skycap. This quartet is or was Netherlands-based and includes German saxist Jan Klare (2 CD’s on Leo) and Dutch trumpeter Bart Maris who has worked with two great progressive bands: Univers Zero and Blast. In-demand bassist Wilbert De Joode, has appeared on more than fifty releases throughout his long career. The idea behind this disc is certainly an odd one: most of the 20 pieces are based on the national anthems of Afganistan (7 versions) and Cambodia (5 versions) plus one each by China and Syria. The liner notes go on at length to describe the histories of Cambodia and Afganistan, since have had several anthems due to whomever was in power during different periods. The anthems were selected more for their unique melodies and we researched by members of the quartet. There are also three short group improv found throughout this disc which add a nice balance to the skeletal songlike structures of the varied anthems. The melodies to the Cambodian anthems do have a proud, folky sort of flavor and the quartet do a fine job of adding bits of sly, swagger to certain songs and capturing the rich,yet subtle melodies in a more reverent way, often stripping things down to their bare essentials. The quartet keep things often more calm without pushing things very far out. I love the way Mr. Vatcher uses subtle percussion like shakers or bells just to add minimal seasoning. This allows some of the more ancient (sounding) melodies to ring true. At times poignant and ever-enchanting. Had I not know that the quartet were playing any anthems, I might not have thought this was the case. Either way, the results are still most charming with some unexpected twists and turns. - Bruce Lee Gallanter, DMG CD $15

RKeT [JAN KLARE / LUC EX / MICHAEL VATCHER] - ReKort (Umland Records 3; Germany) RKeT is Jan Klare on alto & bass saxes, Luc Ex on bass guitar and Michael Vatcher on drums. Longtime bassist for the legendary Dutch punk band/collective The Ex, Luc Ex has been involved with a series of bands which include musicians from diverse backgrounds: Roof, Walls (both with Phil Minton & Veryan Weston), Sonic Youth, Bouge (with Johannes Bauer & Isabelle Duthoit) and more recently a great quartet with Ingrid Laubrock, Ab Baars & Hamid Drake. RKeT is a trio with Jan Klare on alto & bass saxes and Michael Vatcher on drums. Both Klare and Vatcher also members of a great quartet known as 1000, who have 4 discs out and whose new CD features reworkings of a dozen national anthems. An odd concept that actually works very well. Rather than get another completely improvised date, saxist Klare wrote all but three songs (out of a dozen). The opening track, “Descent”, has an infectious, jazz/rock/punk/funk riff churning at the center with Mr. Klare’s bass sax wailing on top, the rhythm team slamming the groove down hard. Luc Ex has a most distinctive sound on that bass guitar and is at the center of each song, playing those joyous, repeating riffs which work well with Mr. Varcher’s slamming drums. The bass sax is even larger (heavier weight-wise)than a bari sax and unless you work out like Colin Stetson difficult to carry around. Some older bass saxists (like JD Parran) keep it in a stand. Very few folks ever play their funky riffs on a bass sax but Mr. Klare does a great job of getting down of the often unfunky gargantuan sax. In many ways this is great party record since Mr. Klare keeps the grooves jumping on each song with joyous solos from both the alto and bass saxes. There are a couple of laid back groove songs which sound equally cool with Mr. Ex’s bass throbbing at the center while Mr. Klare solos expressfully on top. What I like the most about this disc is the way it is uplifting, inspiring those who need to dance around and forget about the seriousness of our current situation. - Bruce Lee Gallanter, DMGCD $15

GENE CARL BAND - Pink Chinese Restaurants (X-OR 021; Netherlands) Released 2012. Featuring Gene Carl on piano, synth & songs, Wiek Hijmans on electric guitar, Jeffrey Bruinsma on violin, Michael Vatcher on drums & percussion and Ken Gould on voice. The Gene Carl Band was formed in 1997 to perform a cantata called “Pink Chinese Restaurants” and has been involved with large-scale dance/theatre pieces. The band uses a varying number of players and always involves a vocalist. For this work, Mr. Carl composed the music, used a five piece band which includes vocalist Ken Gould. The words were written by NYC-based artist & sound-poet Marshall Reese, someone I’ve met at gigs in NY for many years but knew little about. It turns out that Gene Carl also has a solo disc out on the same X-OR label playing piano, synthesizers and tapes. It also turns out that the guitarist here, Wiek Hijmans, is known as pioneer of experimental guitar. Who knew?!? I was even more intrigued to hear this disc. Starting with “Slierten” which means “Slithers”, I didn’t know what to really expect. This piece features some sly, guitar and violin interplay and great drumming by the irrepressible Michael Vatcher. Is this jazz/rock or perhaps new wave? Hmmmm, somewhere in between. A most infectious groove, nonetheless. The “Pink Chinese Restaurants” cantata features minimal vocals are quietly operatic/Broadway-like yet still somehow charming. The lyrics sound like they were cut=ups from Chinese menus with unexpected twists, rather dada-like. The music is a unique blend of choppy, repeated phrases, oddly complex in part. There is a section midway through this piece where the quintet erupts with what sound like a completely free detour, the guitar solo is breath-taking. This closes with a couple of bonus tracks with poems written by Ulises Carrion. The music doesn’t quite sound like anyone else yet remains most charming throughout. Violinist Jeffrey Bruinsma sounds especially lyrical yet engaging on the last piece. I wonder whatever happened to him? It seems strange that unknown gems like this seem to disappear until someone decides to shine a light on their existence. I believe that this label, X-OR is long gone so grab this before it vanishes. - Bruce Lee Gallanter, DMG CD $15

REDDEER [FAY VICTOR / ELISABETH HARNIK / DOMINIC LASH] - New York - Johann (Evil Rabbit 26; Netherlands) Featuring Fay Victor on vocals, Elisabeth Harnik on piano and Dominic Lash on double bass. Although these three musicians come from much different backgrounds: Victor (Brooklyn), Harnik (Austria) and Lash (UK), they met at a residency in upstate New York in 2010. The music here was recorded at I-Beam in Brooklyn in 2011 and at Festival Artacts in Austria in 2012. I am longtime fan of “jazz” vocalist Fay Victor, whose enchanting and soulful voice can be heard on a half dozen different discs and who has collaborated with Other Dimensions in Music and Roswell Rudd. Austrian pianist recently recorded in the DEK trio with Ken Vandermark, as well as working with Gianni Mimmo and Alison Blunt. UK bassist Dominic Lash is a member of the great Convergence Quartet which includes the great pianist Alexander Hawkins, plus working with Axel Dorner, Tony Bevan and the Wandelweiser Composer Collective. Both sessions are superbly recorded, the instruments and voice closely mic’d, the balance just right. There is a good deal of suspense going on here. Ms. Harnik appears to be playing inside the piano, ever so carefully, hushed tinkles, eerie fragments, floating in the air. Ms. Victor’s voice has never more magical, lush, cautious, thoughtful, sumptuous than it does here… eventually erupting into a more scary section as when she chants the word “anyway”, repeating it and then twisting it inside out. Fay allows herself to get carried away… soaring, jabbering and even screaming at times. She taps into the crazy spirit that is inside all of us but that we are often afraid of letting out. Even when things quiet down to a whisper level, the trio still express extremes weaving their sounds carefully around one another. When Ms. Harnik speeds up midway through, she starts to move closer to those Keith Tippett-like lightning fast lines, also muting certain strings the way Mr. Tippett also does at times. The further that Ms. Victor goes out, the more the rest of the trio stretches beyond anything we might expect. In many ways this is one of the best improv sessions I’ve heard in recent times since this trio plays consistently as one dynamic force, taking off for points unknown, unafraid of going too far into the other worlds that Sun Ra used to talk about. The is one dynamite, edge-of-your-seat set, taking us all on a journey upwards and onwards. - Bruce Lee Gallanter, DMG CD $15

DAPHNA NAPHTALI / GORDON BEEFERMAN - Pulsing Dot (Clang 054; USA) Featuring Daphna Naphtali on voice, live processing and electronics and Gordon Beeferman on piano. Experimenatl vocalist, Dafna Naphtali, has recorded with Chuck Bettis, Kitty Brazelton and Hans Tammen and takes time between each and every project. Jazz pianist and new music composer, Gordon Beeferman, has worked with Jeff Arnal, James Ilgenfritz and Michael Evans. Mr. Beeferman had a great disc on Innova from last year which featured a fine quintet. This duo jus something else entirely! There are several layers of interaction going on here simultaneously. Listening closely reveals another layer or two, minimal piano with hushed electronics at first. The vocals are often kept to minimum and well used for their sonic qualities: shapes, textures, unique sounds. Mr. Beeferman also experiments by playing inside the piano and rubbing, fanning or banging on the strings. It took a while to adjust to this disc, as it creates another world, an alien-sounding environment that is both fascinating and at times disorienting. What works so well is that things evolve slowly, a dreamy yet strange voice, sparse Feldman/Cagian piano and careful electronic fragments combine forces which are consistently mesmerizing. Outside today (10/26.17), it is gray, a bit cold rather dismal looking. The music here seems to reflect this vibe. Sipping some chai tea with honey fits perfectly. - Bruce Lee Gallanter, DMG CD $10

ALVARIUS B. - With a Beaker on the Burner and an Otter in the Oven (Abduction 059; USA) Alvarius B. on the two-CD version of With a Beaker on the Burner and an Otter in the Oven: "This is my brand new 35 song, two-CD set which is also being released via three single LPs. If you really want to know more about the music, search for the LP version descriptions online (I'm sure they were copy/pasted across many websites) where you'll discover a treasure of valuable assessments contained within. This two-CD edition is primarily being made available to facilitate 41 of my 133 'fans' who will be thrilled that it comes out on Compact Disc -- and at an affordable price in comparison to what buying all three LPs would cost. I think I pressed at least 172 copies of this two-CD so there is room for another 39 'fans' to climb aboard my champion ship. I keep hearing that many of the CDs you've acquired in the past don't work anymore. CDs are supposed to rot, scratch and die after a few years and have therefore become a flawed medium. Sounds more like a pragmatic description of humanity to me. But I have thousands of CDs. Some are commercially manufactured discs and the rest are CDRs and every single one of them works. Yep, I hired a bearded guy from New Hampshire to check them all and many are 10, 15, or 20 years old. But my mother always told me I was blessed. Or perhaps I have a magic CD player? But people used to say the same about cassettes and now tapes are the cat's fuckin meow. In fact, I know a record store owner who recently sold an entire car full of cassettes. So don't bring your CDs when you jump aboard Julijonas Urbonas' suicide roller coaster (which hopefully gets built soon in order to facilitate plenty of you imbeciles) -- leave them behind for others to enjoy. Getting back to my new album, go find my sampler on YouTube if you want to know what it sounds like. It's better than your new album, that's for sure. Maybe I'll have to do a cassette version of this record in the future so that I can write another one of these fuckin' promotional sheets." Two-CD version comes in a digipak and collects all 35 tracks on the three LP volumes; Includes a 24-page booklet with artwork and with all lyrics and credits.2 CD set $16

Historic, Archival Recordings, Reissues & Restocked Items:

RICHARD THOMPSON BAND - Live at Rockpalast (Made in Germany 90772; Germany) “Richard Thompson, the pioneer of British folk rock was voted one of the best guitarists of all time by US magazine The Rolling Stone: "His acoustic picking is just as killer" they wrote. In 1983, Thompson went on tour to promote his current album "Hand Of Kindness". For the show on December 12, 1983, at the Hamburg Markthalle the WDR also put up their cameras to record the event for the Rockpalast. The studio crew from the recording sessions of "Hand Of Kindness" was also present live. Among them three musicians who stood on stage with Thompson with FAIRPORT CONVENTION more than ten years before: Simon Nicol, Dave Pegg and Dave Mattacks. Nearly seven weeks later, on January 26, 1984 Richard Thompson & Band gave another concert in the French luxury resort Cannes on occasion of MIDEM being recorded by the WDR as well. Gerry Conway, today the drummer with the still active folk rock institution FAIRPORT CONVENTION, replaced Dave Mattacks, Rory McFarlane (bass) came for Dave Pegg who had to go into the studio to record a new album with his band JETHRO TULL. In both concerts it is to be heard how well the musicians know each other and how they have been harmonizing for years. They are building an integrated whole with Richard Thompson. They carry the music of their "boss" and give him the lightness and the leeway to fully unfold his potential. Both concerts are an absolute must for every Thompson fan.”3 CD 3 DVD’s $26

ALBERT MANGELSDORFF With ATTILA ZOLLER / BUD SHANK / BOB COOPER / GARY PEACOCK - The Jazz Sextett (Made in Germany 1305; Germany) “Hans Gertberg, since 1952 jazz editor and as such as responsible for "Jazz at the NDR", had invited an ensemble to Hamburg that was on a European tour and in at least one way promised to shine a little light on the preferences of the trombonist Mangelsdorff. At that time he was already shaping the West German scene considerably. "The Jazz Sextet" was the name of the illustrious tour ensemble which also showed up at the Hamburg studio. It followed the current developments up to sacrificing the principally always more harmonizing piano. The moods and parts are arranged with the instruments completely without the piano keys: Mangelsdorff and both the Cool and West coast masters Bob Cooper and Bud Shank. The guitarist Attila Zoller does not so much bring about harmonies into the recording but another solo part. The foundation for the ensemble sound are laid by the at that time extremely busy drummer Karl Sanner and by the bassist Gary Peacock who in those days of the Hamburg session is just 21 years old. For one track, the three part horn section is reinforced by another "American in Europe": the clarinet player Tony Scott, during these months also on his way on the old continent, is joining the sextet. And with him, the recorded version of Jerome Kerns "Yesterdays" evolves promptly (and totally unusual for that time!) into a 20 minute trip around the world with a diversity of sounds and rhythms. And what does this sextet play without Scott? Pretty much from the repertoire of the standard titles. Very intelligent and relaxed is the bands' use of Shearing's and Gershwin's song and sound structures. The enormous appeal of this recording from April 1957 makes up that six, briefly seven musicians of distinction are engaged in exchanging their thoughts, in the middle of one of the most creative phases in jazz during the post war era.” - Rel Nov 3rdCD $20

JON HASSELL With BRIAN ENO / MICHAEL BROOK / DANIEL LANOIS - Dream Theory in Malaya: Fourth World Volume Two (Glitterbeat 052; Germany) First reissue of Jon Hassell's "Fourth World" masterpiece, originally released in 1981. Featuring contributions from Brian Eno, Daniel Lanois (U2, Peter Gabriel), and Michael Brook (Nusrat Fateh Ali Khan). Beautifully remastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself. "Fourth World is a viewpoint out of which evolves guidelines for finding balances between accumulated knowledge and the conditions created by new technologies" --Jon Hassell. From his time studying with Stockhausen in Cologne and a passage through the New York minimalist sphere with Terry Riley, La Monte Young, and Philip Glass to his mentorship with the Indian vocal master Pandit Pran Nath and collaborative excursions with Eno, the Talking Heads, Peter Gabriel, David Sylvian, Björk, and Ry Cooder, Jon Hassell has pursued a continuous questioning of the dichotomies between North and South, sacred and sensual, primitive and futurist. These cross-pollinating influences and pan-cultural musical educations led Hassell to the gradual development of musical concepts and gestures that he grouped under the "Fourth World" umbrella theory. "I wanted the mental and geographical landscapes to be more indeterminate -- not Indonesia, not Africa, not this or that. . . . What would music be like if 'classic' had not been defined as what happened in Central Europe two hundred years ago. What if the world knew Javanese music and Pygmy music and Aborigine music? What would 'classical music' sound like then?" In the late 1970s in New York, Hassell began to produce a series of astonishing albums on which his trumpet explored both non-Western modalities and dramatic sound processing (deftly rendered by nascent digital effects like the AMS Harmonizer). Brian Eno, who was living New York at the time, was thrilled by Hassell's 1978 debut album, Vernal Equinox, and sought out its creator. Together they produced the classic 1980 album Fourth World Vol. 1: Possible Musics (GB 019CD/LP), before Eno charged headlong into "Fourth World"-ish collaborations with a new partner, David Byrne, on Remain in Light (1980) and My Life in The Bush of Ghosts (1981). Hassell began to feel that they were at least borrowing concepts and sounds to which he had introduced them, and at worst, that a full-scale appropriation was taking place. As Hassell undertook the process of recording and finalizing Dream Theory in Malaya: Fourth World Volume Two -- the follow-up to Possible Musics -- Brian Eno was again present, as both mixer and musician, but this time the back cover credits leave no room for interpretation or confusion: "All compositions by Jon Hassell. Produced by Jon Hassell."CD $15LP CD $24

DUKE ELLINGTON With JOHNNY HODGES / CHARLES MINGUS / MAX ROACH / HARRY “SWEETS” EDISON /MAHALIA JACKSON / LOUIE ARMSTRONG / BARNEY BIGARD / et al- His Classic Collaborations 1956-1963 (Enlightenment 9131; EEC) “Among the most legendary figures in all of jazz, pianist, arranger and bandleader Duke Ellington informed and guided the entire genre across some 60 years. With his unparalleled eloquence, charisma and inventiveness, he has been credited as instrumentally raising the status of jazz to high art while concurrently broadening its appeal. One of jazz history's most prolific composers, having penned over 1000 pieces during his lifetime, the Duke was renowned too for nurturing the talents of many future jazz greats within his orchestras. To this end he rarely rested, even in his later years, a period during which he recorded some of his finest work, often in collaboration with other esteemed musicians. Duke Ellington kept up a consistent recording and performing schedule for the rest of his life, playing his final concert two months before his death on 24th May 1974 at the age of 75. He left behind a catalogue that has yet to be equalled, from which the selections featured on this four disc set have been drawn. Featuring eight original, remastered albums which the Duke made alongside an esteemed roll call of collaborators during the latter part of his career, this collection illustrates well why this master musician and performer continues to be held in such esteem.”4 CD Set $18

Two Small but Essential 3 CD Box sets Now on Sale:

WILLIAM PARKER With CHARLES GAYLE / KATHLEEN SUPOVE / JIM PUGLIESE / ERI YAMAMOTO / COOPER-MOORE / HAMID DRAKE / et al - For Those Who Are, Still (Aum Fidelity 92/93/94; USA) Earlier this year, I was fortunate to have witnessed William Parker's "Yes I Dream of Freedom", a free jazz celebration of Dr. Martin Luther King at Roulette. The piece involved several ensembles, singers, narrators, dancers and guests, around 30 in all. This was the weekend right before Martin Luther King's birthday/holiday and it was one of the finest celebrations/epics I have witnessed in a long while. Each disc of this massive three disc set features a different ensemble and was recorded in different places. Disc One includes "For Fannie Lou Hamer" for the Kitchen House Blend Band. The great vocalist Ms. Leena Conquest is featured on both of these pieces and has worked with Mr. Parker on several occasions in the past, always to great effect. The Kitchen House Blend band features 11 musicians: including Todd Reynolds on violin, JD Parran & Sam Furnace on woodwinds, Kathleen Supove on piano & JT Lewis on drums. Ms. Fannie Lou Hamer was a civil rights activist who was involved in Mississippi's Freedom Summer. Read about this woman and you will be inspired by her efforts to make our country a better place. The music and words, both by Mr. Parker, capture Ms. Hamer and the times (mid-sixties) incredibly well. Ms. Conquest's stunning gospelish voice stands out. Outstanding! "Vermeer" features a quartet: Leena Conquest on vocals, Darryl Foster on saxes, Eri Yamamoto on piano and William Parker on bass & hocchiku (Japanese bamboo flute). "Vermeer" was also recorded at the Kitchen, a couple of days later. Although it features a quartet (trio & vocalist), the performance is no less impressive. Both Mr. Foster & Ms. Yamamoto have also worked with Mr. Parker on previous sessions. The second disc features "Red Giraffe with Dreadlocks", another epic work, recorded in Paris in 2012. The ensemble includes two very different singers: Sangeeta Bandyopadhyay (an Indian vocalist, also using a shruti or drone box) and Mola Sylla (Senegalese singer who works with Ernst Reijseger, who plays m'bira or thumb piano) plus Bill Cole, Rob Brown, Klaas Hekman (bass sax & flute), Cooper-Moore, Mr Parker and Hamid Drake. The two singers who come from much different places sound superb together and enhance each other's presence. An incredible blend of creative spirits, work music/improv at its best. The various double-reeds by Mr. Cole add a strong, mysterious, rather eastern-sounding vibe. Plus the longtime rhythm team of Cooper-Moore, William Parker & Hamid Drake is as great as it gets. Add some inspired solos from Rob Brown plus Mr. Hekman on bass sax and we have another gem from Mr. Parker's grand collection. The third disc is called "Ceremonies for Those Who are Still". This one features a trio: Charles Gayle (saxes & piano), William Parker (bass, boson ngoni & bamboo flutes) & Mike Reed (drums) plus the National Forum of Music Symphony Orchestra and Choir. This set was recorded for Polskie Radio at the Jazztopad Festival in Wroclaw, Poland. Again, Mr. Parker's vast abilities are on display here. The piece is dedicated to a Russian bassist named Rustam Abdullaev, a good friend and ever-positive inspiration to William, who died under mysterious circumstances. This is the first time I've heard the orchestral music of Mr. Parker and I am quite impressed. You can tell that Mr. Parker put a great deal of work into this since this piece unfolds in strong and unpredictable ways. The trio is featured on a handful of these pieces and rises above the symphonic waves below selectively. The chorus sings few words, mainly choral sounds until the encore piece, another effective poem by Mr. Parker, called "Trees With Wings". Each of the three discs here are over 70 minutes long, hence there is a good deal to absorb. Take your time to savor this impressive epic. It is grand effort on many levels! - Bruce Lee Gallanter, DMG3 CD Set $24

ANTHONY BRAXTON & DEREK BAILEY - First Duo Concert (London 1975) (Emanem 5038; UK) Their earliest meeting on record - the complete London (Wigmore Hall) concert (organized by Emanem), featuring them both at the top of their form. Highly acclaimed by both enthusiasts and critics. Reissue of Emanem 4006 which contained the concert section of Emanem 601; This one contains both sets: 77:46CD $16

SPONTANEOUS MUSIC ENSEMBLE [JOHN STEVENS / TREVOR WATTS / PAUL RUTHERFORD / KENNY WHEELER / EVAN PARKER / et al - Challenge: Expanded Edition (Emanem 5029; UK) The first SME album [LP on Eyemark #1002] from 1966 reveals their free jazz roots with only hints of what was to come. KENNY WHEELER (flugelhorn), PAUL RUTHERFORD (trombone), TREVOR WATTS (alto sax), BRUCE CALE (double bass) and JOHN STEVENS (drums) improvise on pieces by Rutherford, Stevens & Watts. (JEFF CLYNE replaces Cale on a couple of tracks.) In addition there is a previously unissued 15 minute performance called "Distant Little Soul" from 1967 by TREVOR WATTS (piccolo & alto sax), EVAN PARKER (soprano sax), CHRIS CAMBRIDGE (double bass) and JOHN STEVENS (drums). 67 minutes total. "Perhaps the very first explorations of free-jazz-into-free-music by a half dozen British jazz musicians. The Little Theatre Club opened in January of 1966 and became the birthplace of a new music scene. Most of you recognize all the names here since everyone, except possibly for bassists Bruce Cale and Chris Cambridge, went on to legendary status in today's burgeoning scene. Listening to this music now, nearly five decades later, we can hear the seeds of what would become a new language of expression, exploration and communication. It does take a bit of work to get used to the uniqueness of this music but it is well worth the "Challenge". - BLG / DMGCD $16

SPONTANEOUS MUSIC ORCHESTRA with JOHN STEVENS/TREVOR WATTS/EVAN PARKER/ROGER SMITH/MARCIO MATTOS - Search & Reflect (Emanem 5209; UK) ”Contemporaneous examples of some of the pieces described in the classic ‘Search & Reflect‘, by John Stevens. Outrageous sounds produced by a workshop orchestra directed by him in 1973 - an SME-type improvisation; instrumental & vocal drones; a mechanically rhythmic yet unpredictable piece; and an all-out improvisation featuring non-vocal mouth sounds, vocal sounds & instruments. This is followed by what is perhaps the pinnacle of Stevens' attempts to make music with a large (21 strong) group made up of both experienced improvisers (including Evan Parker & Trevor Watts) and workshop musicians. This 40 minute performance from 1975 starts off with just the 11 workshop musicians for a few minutes, and then everyone joins in for a long mainly sustained section, before ending with an all-out improvisation. The 1981 London concert features two more of Stevens' didactic pieces, performed by nine or ten musicians.141 minutes. This double-CD is a reissue of Emanem 4039, and A LP 003 (later on Emanem 4062), and SFA LP 092 (later on Emanem 4150). One lesser orchestral piece has been omitted from 4062, as have the trio performances from 4150.” - Emanem I have the original vinyl for some of this album, an album called ’SME = SMO‘ and it has been a long favorite of mine since it is a rich example of the way the late John Stevens worked his distinctive improv direction or magic. If you haven’t already read it, you should check out the Primer (or focus) on the Spontaneous Music Ensemble in the October, 2016 Wire magazine. Drummer/director/author John Stevens (and his early partner Trevor Watts) worked hard at leading, inspiring and directing several related ensembles under the SME umbrella. This vast 2 disc set is comprised of five versions of the SMO mostly from 1973 and one long set from 1975. There are often a number subgroups or layers moving simultaneously. It takes some getting used to since certain sections emerge and submerge (below the waves of currents), eerie reeds, strings and/or percussion weave their way around one another. On “Sustained Piece”, it sounds like several drones, expanding and contracting. Even the short vocal version of this piece has a unique disorienting yet transcendent quality. John Stevens created his own sound world with the Spontaneous Music Ensemble for nearly thirty years (1965-1994 when Stevens passed). There are/were upwards of twenty plus albums led by Mr. Stevens, most released on Emanem. All worth checking for another part of the puzzle to be revealed. - Bruce Lee Gallanter, DMG 2 CD Set $24

EVAN PARKER - Monoceros (PSI 15.01; UK) Soprano saxophone solos originally recorded direct-to-disc in 1978 at Nimbus Studios, Wyastone Leys, Monmouth by Michael & Gerald Reynolds. Originally issued as Incus LP 19 and previously reissued as Chronoscope CPE 2002-2. 40 minutes. This is one of the finest solo soprano sax efforts that the great Evan Parker has done and it has been long out-of-print! A must for all Evan Parker fan-addicts worldwide! - BLGCD $16

MISHA MENGELBERG & EVAN PARKER - It Won’t Be Called a Broken Chair (PSI 11.07; UK) Two improvisations on piano & tenor saxophone, one in concert and the other before the audience arrived, recorded at the Bimhuis in Amsterdam in 2006. The sleeve design is derived from work by the late Tomas Schmit whose work is much loved by both MM and EP.CD $16

ISKRA 1903 [PAUL RUTHERFORD / BARRY GUY / PHILIPP WACHSMANN] - Chapter Two: 1981 - 83 (Emanem 4303; UK) PAUL RUTHERFORD (trombone, euphonium & electronics), PHILIPP WACHSMANN (violin & electronics), BARRY GUY (double bass & electronics) - the first time some early recordings of this trio have been issued. The bulk of the music in this set comes from a late 1983 tour of England - 4 concerts in 6 days - during which this trio used more electronics than before or since. The music in each concert moved in a different direction, so it all had to be included. There are also two slightly earlier performances, one of which has saxophonist EVAN PARKER added to make the group Iskra 1904 for about 16 minutes. 223 minutes - all previously unissued.3 CD Set $30

Legendary Vinyl-Mostly Section:

LITTLE AXE With SKIP McDONALD / MARK STEWART / DOUG WIMBISH / KEITH LEBLANC /et al - London Blues (Echo Beach 122; Germany) LP version. Includes CD. "The future of blue note... !" Twenty-three years ago, this quotation foretold a great career for Little Axe, aka Skip McDonald. The musician had already had a taste of fame with the Sugarhill Gang backing band / Tommy Boy Cooperations and their hip-hop masterpieces, writing music history along the way. Then he rolled out Little Axe and gave the blues a new, groovy face. Releases on legendary labels like Okeh Records, Realworld, On-U Sound, and majors like Sony, BMG, Warner, etc. followed. On-U Sound label mastermind Adrian Sherwood has always given Skip a platform to present his entrancing blend of blues, gospel, Cajun, dub, and trip hop: pioneering and authentic at the same time. His sound takes the essence and sound samples from blues legends such as Howlin' Wolf, Leadbelly, and Son House and distils them to create musical visions that are both penetrating and highly hypnotic. Little Axe has released seven albums to date; London Blues is his eighth official album. Old mates, like Mark Stewart (Pop Group, Maffia), Doug Wimbish (bass player for Living Colour), Keith LeBlanc (drummer), Perry Melius (drummer for African Head Charge) have provided assistance -- and JebLoy Nichols collaborated on writing. London Blues sticks tenaciously to tradition -- to the blues -- but at the same time is infused with a plethora of musical lingos. The new album is packed with songs that glitter and shine with strokes of production genius and imaginative arrangements. On London Blues, Skip McDonald's creative team is even more sophisticated and innovative than on the predecessor albums. Amazing instrumentals ("Be Thankful"), a touch of gospel ("Deep River"), splashes of trip hop with blues harp ("Next Week Thursday"), and Delta blues meets dub ("When I Rise") -- the album meticulously follows a trail between Chicago and London, blending all the stepping stones to form a smooth, irresistible pathway.LP CD $25

NAZORANAI With KEIJI HAINO / OREN AMBARCHI / STEPHEN O/MALLEY - Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed (W.25th 002; USA) "Nazoranai is the supergroup of Keiji Haino, Oren Ambarchi and Stephen O'Malley. For close to four decades, Haino has been a legendary figure in Japan's avant-garde community through his commanding presence in the band Fushitsusha and numerous solo ventures. Ambarchi, a prolific electro-acoustic composer of heavy ambience and hypno-rock, has long stood at the leading edge of Australia's experimental music scene, while O'Malley remains a principle architect for the drone / doom metal project Sunn O))) in harnessing extreme sub-harmonic frequencies. Collectively, Nazoranai operates as a live recorded collaboration, although Haino is quick to point out the difference between the words 'nazoranai' (which in Japanese calligraphy means 'not repeating,' as in developing a distinct, individual style) and 'sokkyō' (referring specifically to improvisation). In this parsing of terms, the group separates themselves from the free-music scene, which can be just as convention-bound as the established genres from which improvisers hope to escape. On the trio's third album, Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed, Nazoranai explore two side-long tracks of superb abstraction. Ambarchi and O'Malley provide the perfect brute-rock rhythm section to Haino's recklessly pure expression through instrument and voice. Blurred noise, dark hurdy-gurdy and thunderous harmonics build an accretive mantra of jagged electricity. While Haino's extensive discography resists easy interpretation, he constantly challenges himself to further his art by channeling the unknown. Shifting from his native Japanese to English, he asks: 'Do you still have a mystery?' This existential plea could apply to the artist's own deep inquisitions or stand to confront his audience about that which eludes their understanding. W.25TH / Superior Viaduct is proud to present Nazoranai's latest work, recorded at SuperDeluxe in Tokyo, which marks the band's first release on an American label."LP $26

ALVARIUS B. - With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder (Abduction 059A; USA) Alvarius B. on With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder: "Volume One of three new LPs I am releasing simultaneously called Natural Wonder, this is the more melodic, savvy one and you might like it. Maybe I'm lying and it's the innocent, straight record so maybe you should get Vol 3 (ABDT 059C-LP) instead if you're in a darker mood. But that's not really true either. Or maybe it's one of those records that grows on you the more you continue playing it... like a cancer. The musicians who played on all three albums don't deserve to be involved in these kamikaze promotional descriptions so don't blame them for any of this. They played so well on these records, in fact they play much better than you do, and their performances deserve a 'Whammy,' which is the awards show where I'm in charge and the winners get to shoot members of the music industry academy dead in their seats. That's where it's all headed you know. . . . The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you're all under hypnosis, I promise you won't feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a …? I'm still making records for myself and the rest of humanity doesn't speak my language anyway. By deciding to write my own album promos, I can perform some market research. For example, this album description text will undoubtedly be copy/pasted by most online retailers onto their respective sites because they don't write their own new album reviews or get too excited about music, they simply want to create the illusion that they're in business to sell records. So I could put something like: F*ck all website retailers that copy/paste this description onto their site because they are too f*cking cheap, lazy or chicken sh*t to have an opinion to write individual album reviews -- and they probably wouldn't even notice while doing it. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don't even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do. But you should buy my new three album set because it's probably as good or better than any other LPs that will be released this year. But if you aren't ready to go all-in with confidence, then forget it. I don't want any mudskipper sub-species of the crayfish to buy my records. There are always a few speculators who'll pick up the extra copies you won't buy anyway." One-time pressing; Includes printed inner sleeve with lyrics and credits.2 CD Set $16LP $19

PIERRE BASTIEN - The Mecanoncentric Worlds of Pierre Bastien (Discrepant 048; UK) Discrepant present a magical live recording from the legend that is Pierre Bastien, showcasing his mecanoid orchestra at its intricate best during a performance at Studio M, the historical studio-concert hall of Radio-Television of Vojvodina, Serbia. Around 1986, French composer and multi-instrumentalist Pierre Bastien started creating and building his own orchestra called Mecanium: an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that "play" on acoustic instruments from all over the world. On The Mecanoncentric Worlds of Pierre Bastien, the Mecanium plays amplified Meccano parts, drums, reeds, rubber bands, paper, nails, and flutes whilst Pierre plays kundi, rubber band, prepared trumpet, video loops, nail violin, and râbab. Recorded live at Studio M on October 8, 2016. All compositions and live mix by Pierre Bastien. Artwork by Stéphane Blanquet.LP $25

LYSERGIC SAVIOURS - A Psychedelic Prophecy! The Holy Grail Of Xian Acid Fuzz 1968-1974 (Particles 4068; UK) Particles present a hallowed collection of psychedelic evangelists, hell-bent on summoning the Lord and armed with the latest fuzz pedals and hallucinogenic. Let us embrace the sound of the heavens with a toxic mix of wild garage punk and prayer recorded between 1968 and 1974. This pious platter delivers 13 lysergic sermons from the depths of revelations on this LP, plus a CD with six bonus tracks. Holy fuzz pedals, let us pray. Features: Our Generation, The New Folk, The New Dawn, The Search Party, Whispers Of Truth, Concrete Rubber Band, Mind Garage, Earthen Vessel, Out Of Darkness, Exkursions, The Sheep, and Azitis. Included CD feature six bonus tracks, featuring Mind Garage, Koinonia, Eden, The Accompany, The Search Party, and Agape. Speckled (gold, blue, purple) 180 gram LP (hand-numbered sleeve); Includes CD; Includes insert with comprehensive liner notes are rare color photographs. Professionally re-mastered original sound recordings.LP CD $26

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Bruce Lee Gallanter’s Recommended Gig List for October & November of 2017

All Sets start at 8:30pm Tickets: $20There are no refreshments or merchandise at The Stone. Only music. All ages are welcome.Cash Only at the door. There is no phone. There is no food or beverage served or allowed just a serious listening environment.The Stone is booked purely on a curatorial basis

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The CORNELIA STREET CAFE - 212-989-931929 Cornelia St in the heart of the West Greenwich Village, NYC

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.

*********** October 2017 at Shapeshifter:

Oct 30 - 7pm: BOKCO MASSBrooklyn College Conservatory Mondays at ShapeShifter LabComposers’ Collective and Media Scoring NightDouglas Cohen, Faculty Coordinator; Simon Brown, Program Coordinator;Jonathan Zalben, Media Scoring DirectorThe Composers’ Collective presents a concert featuring music from the Brooklyn College Composers’ Forum and the Media Scoring Program at the Feirstein School for Cinema.

Shapeshifter is located at 18 Whitwell Place in Brooklyn, NYR train to Union stop